Glance | Fall 2003 by California College of the Arts

Volume 12

Fall 2003

No. 1

A publication for the CCA community

glance In this issue:

Barry Katz on Arts and Crafts “Art Chooses You, You Don’t Choose Art”: Alumni Profiles

contents 01

To Our Readers California College of the Arts: An Idea Whose Time Has Come by Barry Katz

“Art Chooses You, You Don’t Choose Art”: Alumni Talk About CCA and Their Careers in Art and Design by Melissa Hutcheson with Erica Olsen

departments 10

In the News

Faculty Notes

Alumni Notes

In Memoriam glance

Fall 2003

Volume 12, No. 1 Editor

Design

Erica Olsen Managing Editor

Sputnik CCA, a student design team

Debbie Kane

Design Director

Contributors

Eric Heiman

Susan Avila Chris Bliss Melissa Hutcheson Barry Katz Ashley Lomery Pippa Murray

Designers

Aine Coughlan Dennis Pasco

Glance is a publication of the CCA Communications Department. Please send all address corrections by mail to the CCA Advancement Office, 5212 Broadway, Oakland, CA 94618, or by email to aludlow@cca.edu.

Dear Readers,

Welcome to the first issue of Glance: A Publication for the CCA Community. Our main feature profiles six notable alumni. With nearly one hundred years of graduating classes, it was extremely difficult to choose from the thousands of CCA alums around the world. In the end we selected representatives from a variety of disciplines who are at different stages of their careers—from recent graduates to seasoned professionals. We plan to make these profiles a regular feature of Glance.

We also have lots of news to share. The “In the News” section gives brief updates on new scholarships and other generous gifts to the college, and introduces some new faculty.

As many of you know, in August we began calling the college by a new name: California College of the Arts. Understandably, this has caused some concern that the college might be abandoning its Arts and Crafts movement heritage. We asked Professor Barry Katz to give us a historical and cultural perspective on the term “arts and crafts.” He writes about the movement’s impassioned beginnings and why its message of unity in the arts may be even more relevant today.

Our next issue of Glance will be mailed in spring 2004. Meanwhile, we welcome your comments and suggestions. Please email us at glance@cca.edu or write to CCA Communications Department, 1111 Eighth Street, San Francisco, CA 94107.

Sadly, this year we lost many good friends of the college: Robert Bolman, Carl Jennings, Wolfgang Lederer, Walter Menrath, Gertrude Schaufel, and Dean Snyder, among them. This issue of Glance includes tributes to these important members of the CCA community.

Sincerely, Chris Bliss Vice President for Communications

by Barry Katz

California College of the Arts: An Idea Whose Time Has Come It is just over a hundred years since William Morris closed his eyes for the last time on a world that seemed to have spun dreadfully out of control. The new regime of industrial mass production had established itself; cheap, factory-made products were flooding the markets; and a tradition of craftsmanship was being obliterated before his eyes. “Think of it!” he thundered. “Is it all to end in a counting-house on the top of a cinder-heap?” In 1861, in the first convincing attempt to assert the dignity of the “lesser arts” against the increasingly esoteric fine arts on the one hand, and the tyranny of the machine on the other, Morris and his friends founded the firm of Morris, Marshall, and Faulkner, Fine Arts Workmen—an event that the historian Nikolaus Pevsner rightly called “the beginning of a new era in Western Art.” Over the centuries, the status of the crafts had declined in proportion to the elevation of the “beaux arts.” The crafts were now threatened with outright extinction by the advent of the factory system. Through the smallscale production of furniture pieces, glass- and metalwares, decorative fabrics, and wallpaper designs Morris and his fellow reformers sought nothing less than to restore the lost unity of the arts. But there was a social dimension to their campaign on behalf of craft and the craftsman. By fragmenting the manufacture of products, the industrial division of labor also fragmented the humanity of the producer. Shoddy work and demoralized, exploited workers were merely two sides of the same coin, for beauty, Morris always insisted, is nothing else but “the expression by man of his pleasure in labor.” It was this commitment both to art and to the artisan that defined what the English bookbinder T. J. Cobden-Sanderson would soon christen the “Arts-and-Crafts Movement.”

Even in the 1880s and 1890s, however, this position was becoming increasingly untenable. The system of industrial mass production, whatever its human and aesthetic costs, had proven itself terrifyingly efficient at filling the homes of even the laboring classes with an assortment of cheap goods that would have been unimaginable in any previous epoch. By contrast, the Century Guild, founded in 1882 by A. H. Mackmurdo; the Art Workers’ Guild, founded in 1884 by W. R. Lethaby; Walter Crane’s Arts and Crafts Exhibition Society (1888); and even the American outpost that would become known as California College of Arts and Crafts (1907) projected a craft ideal that seemed to repudiate the industrial system at the moment of its near-global triumph. As wealthy collectors vied for the honest, sturdy, and outrageously expensive products of these “utopian craftsmen,” Arts and Crafts steadily devolved from an ethical ideal into a period style. By 1915 C. R. Ashbee conceded in the privacy of his journal that “We have taken a great social movement and turned it into a tiresome little aristocracy working with high skills for the very rich.” This judgment is too harsh, however—in part because these tiny communities of cabinetmakers, weavers, metalsmiths, bookbinders, and decorators were hardly in a position to reverse the inexorable tide of history and technology, in part because they actually succeeded beyond their wildest imaginings.

At the heart of the belief system William Morris imparted to his brethren was a simple but revolutionary program: • the unity of the fine and the applied arts and their mutual dependency; • an insistence upon simplicity of form, propriety of ornament, and honesty of materials; • the unshakable belief that art-making is a social act and carries with it an ethical obligation. It is at least arguable that this set of principles framed all of the great twentieth-century debates, from futurism and constructivism to the socially engaged art of the 1960s and ’70s; from the Bauhaus to postmodernism; from Jan Tschichold’s call for “a new typography” in 1928 to the launching of Emigré in 1984. Modern architecture was founded upon these ideas. They are the basis of modern design. Had William Morris been more measured in his judgments, more temperate in his exhortations on art under plutocracy, less dogmatic in his oftexpressed “hatred of modern civilization,” he would not have been William Morris, and we might not be

discussing these issues today. But the fact remains that his nightmarish view of modern technology blinded him to its potential to liberate and not just subjugate the arts. In the age of Photoshop, Form-Z, and streaming video, our challenge is neither to celebrate nor repudiate the craft tradition but to redefine it. We will always admire the elegance of a mortiseand-tenon joint or a perfectly executed flat fell seam, but how about a few hundred lines of lean, flawless code? Or the seamless integration of text and graphics in one of those rare websites through which it is a pleasure to navigate? Should we look for craftsmanship only in the finished product, or must we learn to appreciate the model, the program, or even the theory? William Morris would not have known what to do with these questions, and thus the Arts and Crafts movement has plainly lost its edge. But the force of its underlying demand is stronger than ever: the unity of art and life. Barry Katz is a professor in the Humanities and Sciences, Industrial Design, and Visual Criticism Programs at California College of the Arts.

Craftsmanship and an understanding of cultural context have always been key to the education offered at California College of the Arts. These are values we have embraced in the past and will continue to embody. In today’s world, craft is art; the artificial boundaries between art, design, and craft that were so important to the nineteenth-century academies no longer exist. Our commitment to the unity of the arts, our curriculum’s reinforcement of craftsmanship, and our continued support of community-based arts programming are substantial evidence that the college will continue to embrace the ideals of the Arts and Crafts movement. In the past one hundred years, the understanding of the words

“arts and crafts” has clearly changed. Moreover, contemporary craft is now firmly part of the most progressive work in art, design, and architecture. And the visual, performing, and literary arts are now intersecting in the most productive and powerful ways. By placing our students and faculty at the heart of these intersections, we will continue to provide them with the very best of what an education in the arts, and an education through the arts, can offer. Michael S. Roth President From the SOFA (International Exposition of Sculpture Objects and Functional Art) Chicago 2003 catalog

“Art Chooses You, You Don’t Choose Art”: Alumni Talk About CCA and Their Careers in Art and Design

By Melissa Hutcheson with Erica Olsen

Alumni Relations Manager Melissa Hutcheson spoke recently with six alums who attended undergraduate or graduate programs at California College of the Arts during the past thirty-five years. They are a video maker, an interior designer, a painter, an industrial designer, a children’s book author and illustrator, and a motion designer. Their graduating classes range from 1969 to 2003. Here’s a look at their lives, their art, and their time at the college.

Tommy dePaola Born in 1934 in Meriden, CT MFA 1969, concentration in illustration CCA influence: Wolfgang Lederer Other education: BFA 1956, Illustration, Pratt Institute; graduate studies (PhD equivalency), Lone Mountain College Residence: New London, NH Current occupation: Artist, author, designer, speaker Proudest achievement: When parents, kids, and teachers say, “You’re Tomie dePaola? I love your books!”

When he was four years old, Tomie dePaola wanted to become a writer, an illustrator, and a tap dancer. In his long and varied career, dePaola has done all of that and more. He is a prolific author of some two

hundred children’s books, including the Caldecott Honor Award–winning Strega Nona. He still works seven days a week. Why children’s books? DePaola says the books he had as a child were the only place—besides the world of Walt Disney—where he saw artwork. Art was not in his school curriculum, and there were no museums in Meriden. Today, he is proud that his books touch the hearts of thousands of people. It’s clear that CCA has left its own mark on dePaola’s heart. A protégé of Wolfgang Lederer, dePaola credits Lederer with giving him the freedom to express himself in a noncommercial way, and for setting up a tutorial at Tamalpais Press where dePaola set type one day a week. DePaola recalls Lederer saying, “I can’t teach you a thing about illustration, but I can teach you about type and design of books.” The two remained friends up until Lederer’s death this year. “CCA refined my work and is totally responsible for my success,” dePaola says.

Gary Hutton Born in 1950 in Watsonville, CA BFA 1975, Environmental Design CCA influence: Willis Kauffman, who taught History of Interior Design; Andy Addkison Other education: BA 1972, Fine Arts, UC Davis

where he worked on the restaurant Today’s, on Union Square. It was “the place to lunch,” Hutton recalls. After his stint at Orientations, he worked briefly in the Macy’s interior design studio. Disliking the corporate structure, he left to open his own firm in 1980.

Residence: San Francisco, CA Current Occupation: Interior designer, furniture designer, owner of Gary Hutton Design Proudest achievement: The relationship he’s built with clients over the years

When Gary Hutton found himself working at a mall after graduating from UC Davis with a degree in fine arts, he decided it was time to go back to school. He had always loved interiors, and CCA seemed like the natural choice. Early training came through work at the famed Scalamandré textiles showroom and an internship at Gump’s. For a while, Hutton held two part-time jobs to get by. Eventually he became a manager at the C. J. Welch showroom and then a designer for Jerry Jansen at Orientations,

Today, Hutton commands a loyal clientele of twenty years’ standing—in fact, he’s still in touch with his very first client. Ninety-five percent of his clients are residential, and most of his corporate work comes from residential client referrals. In addition to interior design work, Hutton oversees production for his line of furniture, produced in Emeryville and San Francisco.

Nellie King Solomon Born 1971, San Francisco, CA MFA 2001, Painting and Drawing CCA influences: Kim Anno, Larry Sultan, John Zurier, Linda Geary, Mary Snowden, Steve Beal, Sam Tchakalian, Chris Brown Other education: BFA 1995, General Fine Arts, UC Santa Cruz; architecture studies, The Cooper Union Residence: San Francisco, CA Current occupation: Artist Early success: Introductions, Braunstein/ Quay Gallery, San Francisco, 2001

Nellie King Solomon says, “Art chooses you, you don’t choose art.” Initially drawn to architecture, she studied at Cooper Union, then worked in architecture in Barcelona and New York. She is now known for large paintings created with her own handmade tools on heavy mill Mylar. She started by using the lid of a gesso jar to stamp a dot; the dot was to slow her down, to represent stillness rather than the travel implicit in a line. Following her experience in Europe and New York, and her return to California, Solomon knew she

wanted to focus on the wilderness, environment, and values of the West. Initially creating pieces made from plaster that she called “misbehaving architecture,” in which a wall would erupt and buckle, she then shifted to paint to explore these spatial disturbances. The simple gesture of the dot grew into large canvases, such as Treasure Island Westbound, which began with one dot from the head of a pin and became an 8´ x 12´ landscape in her Great West series. In her artist statement, Solomon says, “The paintings are experiences of the great western landscapes, interior and exterior terrain, the shock of unabsorbed events. California is a place where we are caught off guard, a place of gambling, chance, and change. I paint it.” To see her work, visit www.nelliekingsolomon.com.

Geoffrey Petrizzi Born 1970, Pasadena, CA BFA 2001, Industrial Design CCA influences: Jay Baldwin, Barry Katz, Tylor Garland, Mitchell Schwarzer Residence: San Francisco, CA Current occupation: Senior designer, fuseproject Early success: Group show, Body Design, Design, SFMOMA, 2002–3

Geoffrey Petrizzi enjoys the unusual distinction of seeing his senior thesis project exhibited at the San Francisco Museum of Modern Art. Two years after graduating, Petrizzi submitted his project, Aquaticus—an underwater diving scooter—to ID Magazine. His piece won a Design Distinction award

in the Concepts category and caught the eye of Joe Rosa, a curator at SFMOMA, who selected it for the exhibition Body Design, on view from November 2002 through March 2003. What was Petrizzi’s original assignment? Tasked to create something that would work as both science and fashion, something conceptual yet anchored in reality, at first he wanted to create a diving suit with an embedded gill. Investigating this possibility, he found that the gill required a higher volume of water than was practical. But out of this came Aquaticus, a diving scooter with an embedded gill. The gill not only extracts oxygen from the water to feed the fuel cell power source, it also supplies oxygen to the diver, who is pulled along behind the device. During his second to last semester, Petrizzi took a course with Yves Béhar, head of San Francisco’s fuseproject. An internship there turned into a fulltime job. At fuseproject, Petrizzi juggles multiple projects for clients such as BMW, Birkenstock, and Nike. He also designs cosmetics packaging, perfume bottles, and other consumer products.

Anthony Discenza Born 1967, New Jersey MFA 2000, Film/Video CCA influences: Barney Haynes; two other film/video students, Dave Kareken and Adrian van Allen Other education: BA 1990, Studio Art, Wesleyan University Residence: Oakland, CA Current occupation: Artist Early success: 2000 Whitney Biennial

In 1991 Anthony Discenza moved from New Jersey to California, where his friend and fellow video maker, Torsten Burns, was a student at the San Francisco Art Institute. The two formed a collaborative, the Halflifers; their works have screened in New York City at the Museum of Modern Art and the New York Video Festival; in the Bay Area at the Pacific

Film Archive; and at festivals around the world. Already a working artist, Discenza decided to complete his art education and pursue an MFA at California College of the Arts. While still a grad student, his video work Phosphorescence was selected for the 2000 Whitney Biennial. Discenza says, “I’m interested in revealing the world of images around us as a very ‘real’ space—one which shapes our world view in all sorts of potent but invisible ways.” When he was chosen for the Whitney Biennial, Discenza commented that it was “a great honor, but I have to take it with a grain of salt. I don’t want to build up my expectations about what it’s going to mean.” Today, he balances his artwork with part-time work as a paralegal to help pay the bills. It’s a challenge familiar to many Bay Area artists. Discenza has had solo shows in San Francisco at Hosfelt Gallery and jennjoy gallery and has participated in numerous group shows. His work November is featured in Reprocessing Information, a group show at SFMOMA presenting video works that explore information as landscape and medium. The show runs through February 8, 2004.

Lindsay Daniels Born 1979, Richland, WA BFA 2003, Graphic Design CCA influences: Eric Heiman “He pushed my thinking and design skills to a new level” and Jim Kenney Residence: Seattle, WA

Kitchen, she was happy to accept—in part because she grew up in Seattle and has friends and family there. But, she stresses, she would never take a job just based on location. She chose Digital Kitchen because their work seemed the most exciting.

Current occupation: Motion designer, Digital Kitchen Proudest achievement: Winning a gold medal from the Art Directors Club at the 82nd Annual Awards—the only gold medal awarded to a student

As she neared graduation, Lindsay Daniels didn’t know where she would end up. She sent her portfolio to four motion design firms, researching and applying to companies whose work she admired. With a letter of recommendation from Dean of Design Michael Vanderbyl and a summer 2002 internship at Landor Associates under her belt, she visited firms in Los Angeles, New York City, and Seattle. When the job offer came from Digital

“Motion design allows you to combine elements of the senses that strike a chord with people,” Daniels says. At Digital Kitchen, her current projects include a title sequence and a project for an investment company. As she goes through the transition of learning to design for corporate clients, not just for herself, Digital Kitchen’s varied clientele keeps her work life interesting. “Learning to think in motion has been a fun challenge,” she says.

In the News

College Receives $5 Million Gift for Center for Art and Public Life In May 2003, California College of the Arts received a $5 million gift to establish an endowed fund to support the Center for Art and Public Life. The donation is the largest single gift in the college’s ninety-six-year history and was given by a longtime trustee of the college who wishes to remain anonymous. Established in 1998, the Center for Art and Public Life creates community partnerships based on creative practice that serve the CCA community and the diverse populations of Oakland and San Francisco. Arts education partners include Oakland public schools Arts Far West and Lockwood Elementary School, and San Francisco public school Enola D. Maxwell Middle School of the Arts. For CCA students, the Center offers service learning opportunities through programs such as Artists for Community, Community Student Fellows, and the Alternative Spring Break trip. The Center also offers arts education training and curriculum development for public school teachers. The Center plays a pivotal role in implementing CCA’s diversity plan. In addition to its significant programs in the areas of community partnerships, fellowships, and teacher training, the Center has many initiatives planned for the 2003–4 academic

year, including administering the new diversity and community studies curriculum and launching a new art teacher precredential program. Unique among art colleges in its commitment to community practice, California College of the Arts is the only art college invited to participate in The James Irvine Foundation’s Campus Diversity Initiative and to receive funding from the Corporation for National and Community Service’s Learn and Serve America program. President Michael S. Roth commented, “This extraordinary gift not only validates the work of the Center and assures its future, but also underscores the importance of the arts in the community. One of our primary goals is to demonstrate that successful art practice can take many forms. By identifying this goal and developing the infrastructure and programs to achieve it—namely the Center for Art and Public Life—the college has undertaken a leadership role in defining the artist-as-citizen as a critical issue in contemporary studio practice. We are extremely grateful to our donor for this generous act, which demonstrates a firm belief in this model of art education.”

Joseph Lease photo: John Burnham Schwartz

Faculty Appointments There have been a number of moves and changes among the current CCA faculty and some new hires. Matthew Higgs, curator at the CCA Wattis Institute, and Lydia Matthews, chair of the MA Program in Visual Criticism, are co-chairs of the MFA Program in Fine Arts. Stephen Goldstine, who has stepped down as chair of this program, continues his great work with the graduate students in a new position as Dennis Leon Professor of Fine Arts. Ann Joslin Williams is serving as chair of the MFA Program in Writing for the 2003–4 academic year during John Laskey’s sabbatical. Mark Fox is filling in as chair of Graphic Design during Leslie Becker’s sabbatical this year. New hires include Tina Takemoto and Matthew Jackson (who begins in the 2004–5 academic year) in the Visual Studies Program and Joseph Lease and Juvenal Acosta in the Creative Writing Program. Emily McVarish and Eric Heiman have been promoted to assistant professor in the Graphic Design Program. Dugald Stermer, chair of Illustration, and Steven Holt, chair of Industrial Design, have both been designated distinguished professors.

Matthew Higgs photo: Bob Adler

Tina Takemoto photo: Bob Adler

Emily McVarish photo: Aine Coughlan

Eric Heiman photo: RenĂŠe Getsey

Lydia Matthews photo: Bob Adler

CCA San Francisco campus photo: Douglas Sandberg

Gifts and Grants CCA donors were exceptionally generous over the spring and summer months, and we thank them for their thoughtful support. In addition to the incredible $5 million anonymous gift featured in this issue, California College of the Arts received the following major gifts: Trustee Ronald Wornick and his wife, Anita, made a wonderfully generous gift of $500,000 to establish the Ronald Wornick Distinguished Visiting Professor of Wood Arts. The goal of this new endowed fund is to enrich the CCA academic experience by bringing a celebrated artist to teach as a visiting professor each year. The visiting professorship will enhance the curriculum through the use of wood as a creative medium for exploration, expression, and aesthetic functionality. Artists invited through this program will have made a significant contribution to one or more of the studio fields and will see the opportunity to work and teach in wood as a vehicle for deepening and broadening their professional life. Look for a feature article on the Wornick Distinguished Visiting Professor in the next issue of Glance. Alumna Emily Schwilke (AB 1936) made a generous provision for CCA in her estate plans. Upon her passing in May of this year, the college received $50,000 to support the academic program. We are grateful to Mrs. Schwilke and her family for remembering the school with such a thoughtful gift in support of our mission. Two special gifts were made in memory of beloved members of the CCA community who passed away recently. Elizabeth Schaufel made a gift of $25,000 to the Gertrude Schaufel Memorial Scholarship established in memory of her mother, and Lorenz

and Thomas Menrath gave $25,000 to establish the Walter J. Menrath Scholarship in honor of their father. Both gifts create endowments that provide critical financial aid to gifted students who otherwise could not afford to attend CCA. The college received a generous grant of $46,000 from the Grants for the Arts/Hotel Tax Fund to support the presentation of our San Francisco– based public programs in 2003–4. The Creative Work Fund awarded the CCA Center for Art and Public Life a $35,000 grant to support “Pieces of Cloth, Pieces of Culture: Tongan Tapa Cloth,” a yearlong collaboration between the Center; sociocultural anthropologist Ping-Ann Addo, the Center’s 2003–4 scholar in residence; and lead artist Siu Tuita of Oakland’s ‘Otufelenite Tongan Community Nonprofit Organization. Activities including lectures, demonstrations, and an exhibition will coincide with the creation of a 15 x 15 foot tapa cloth, the first of its kind made in the traditional island manner in the continental United States. The LEF Foundation, a generous and longtime funder of the college, awarded $10,000 to the CCA Wattis Institute for Contemporary Arts for its exhibition Warped Space. In addition, the Jumex Collection, a new donor to the college, awarded the Wattis Institute $8,000 to assist with publication of the catalog accompanying the exhibition Baja to Vancouver: The West Coast and Contemporary Art. Finally, the college extends its thanks to Nancy S. and R. Patrick Forster, Dorothy and George Saxe, and Mr. C. David Robinson FAIA and Mary L. Robinson for their generous trustee unrestricted gifts.

Donations Support New Scholarships

California College of the Arts would like to thank those who have so generously given to the scholarship funds established in memory of our esteemed faculty and staff who have passed away recently. The following lists all gifts received through July 15, 2003.

Wolfgang Lederer Memorial Scholarship To date, $5,210 has been raised for the Wolfgang Lederer Memorial Scholarship. For the 2003â&#x20AC;&#x201C;4 school year, Tracey Hufteling (third year), Suzanne LaGasa (third year), and Lizette Picasso (fourth year) were selected to receive this scholarship. All graphic design students, they were chosen based on merit and financial need. Pat Miler and Jerry Brodkey Susan Ciriclio Mr. Stanley Cohen Sol and Shirley Cooper Mr. Tomie dePaola Mr. David S. Gordon and Ms. Michelle L. Gordon Mrs. Eugenie Q. Handa and Mr. Mark R. Handa Mr. Keith Herritt Mr. Kenji R. Hitomi Florence and Leo Holub George and Janet Hunter

Elizabeth Kavaler Ms. Virginia Kolmar Joann L. Lavey and Kenneth H. Lavey Richard and Marjorie Murray Harriet and Edward Nathan Mr. Steve Reoutt Ms. Me Me Riordan Ms. Elizabeth Rodriguez Mrs. Edward W. Rosston Ms. Alison Samuel Ms. Elizabeth Schaufel Ms. Kay Sekimachi Hugo Steccati Ms. Lucille W. Toy Ms. Patricia Walsh Mr. and Ms. Glenn E. Weaver

Steve Renick Graphic Design Scholarship Three recipients of the Renick scholarship have been selected for the 2003â&#x20AC;&#x201C;4 school year and will share the total of $4,580 raised. All graphic design majors, the students were chosen based on merit and need. The

scholarship recipients are Rachel Lopez (fourth year), Bree Spaulding (third year), and Larissa Waters (fourth year). Catherine Bonnell Mr. William Bonnell Mr. and Mrs. Richard Burn CCA Student Affairs Office Ms. Elizabeth Chen Chronicle Books Ms. Shelly Coe Ms. Carole Cole Ms. Sheila Dutton and Mr. C. H. Fotch, Jr. Mr. and Ms. Richard Eckersley Mr. and Ms. Dennis Furby Mr. and Mrs. John E. Girton Ms. Helen Gooden GTS Graphics Ms. Marcia Hagen Mr. and Mrs. George T. Hall Mrs. Rebecca E. Hayden Mr. Richard Hendel Ms. Linda Jadeson Mr. and Mrs. Lance Kuykendall

New Graduate Studios Open in San Francisco

New Master of Architecture (MArch) Program

California College of the Arts has opened a new graduate center adjacent to the San Francisco campus. Located at the corner of Hooper and Eighth Streets, the spacious, well-lighted facility includes two buildings comprising 12,000 interior square feet and a 10,000-square-foot outdoor atrium. Thirty-two fine arts graduate students occupy individual studios. The new facility was created to accommodate the expansion of the CCA graduate programs.

In fall 2004 California College of the Arts will introduce the three-year first professional master’s degree in architecture (MArch). Building on the strength of our undergraduate bachelor of architecture (BArch) program, the master’s program integrates critical, artistic, and material approaches to the study and practice of architecture. The program is designed for students who hold a bachelor’s degree in another field and wish to study architecture, and gives advanced standing to students who have some previous education in architecture.

Formerly a warehouse, the graduate center was designed by the award-winning firm of Jensen and Macy Architects. Principal Mark Jensen is a former chair of the CCA Interior Architecture Program. Frank Merritt (BArch 1999) was the project designer.

Mr. George D. Lewis and Mrs. Laurie Lewis Malloy Incorporated Mary Jean McAllister Dr. Mary McDevitt Sheri S. McKenzie and Mark S. Bernstein Mr. and Ms. John R. McSween Mr. Raymond L. Meador Ms. Deborah M. Mick Mr. Patrick G. Mitchell and Ms. Frances K. Mitchell Mr. Dennis Norton and Mrs. Therese Norton Mrs. Katherine Renick Dr. Michael S. Roth and Dr. Kari Weil Thomson Learning — Wadsworth Group Mr. Jack N. Thornton Mr. and Mrs. Walden Valen Mr. and Mrs. Scott Wilson Mr. and Ms. Brian Wittenkeller Mr. and Mrs. Alan E. Wulzen

Gertrude Schaufel Memorial Scholarship Donors have contributed $4,605 toward the Gertrude Schaufel Memorial Scholarship, which was awarded for the 2003–4 school year to Zara Finlay and Gian Giglio. Both are first-year students. Zara is majoring in graphic design, and Gian is studying photography. Ms. Elizabeth H. Ashley Ms. Niki Caldis Mr. and Ms. Arthur R. Carson Susan Ciriclio Mrs. Kathleen P. Collop Ms. Marilyn Donahue Mr. Robert A. Dorsey Kevin and Theodora Elston Bella Feldman Andrea and William Foley Ms. Judith Foosaner Betty G. Franks Diane and Bruce Friend Helen Frierson Andrea M. Gunderson

Ms. Maria A. Houlberg Ms. Cyndy Jacobsmeyer Ms. Carolyn K. Kastner and Richard H. Counihan Ms. Alice B. Knudsen Ms. Kathleen Larisch and Dr. Dennis S. Weiss Wolfgang and Hanni Lederer Sheri S. McKenzie and Mark S. Bernstein Philip B. Morsberger Mr. Arthur Okamura Mr. M. Scott Patterson Dr. Michael S. Roth and Dr. Kari Weil Stephanie A. Scea Ms. Sharyn Schneider Judith Serin Ms. Elizabeth Sher Mrs. Sally Snyder Michael Vanderbyl, Vanderbyl Design Ms. Patricia Walsh Ms. Linda Yaven A list of donors to the Walter J. Menrath Scholarship will appear in the next issue of Glance.

Student Callers Make Telefund a Success Staff Appointments Chris Bliss Each spring, California College of the Arts recruits Vice President for Communications a group of talented and enthusiastic students to phone our alumni and friends asking for gifts in Jennifer Minniti support of the Annual Fund. This effort provides Associate Dean of Instruction crucial funding for student scholarships, the libraries, computer labs, and materials and supplies. Kate Wees Director of Undergraduate Admissions These are the college’s core needs, and we depend on the generosity of our alumni and friends to help Janice Woo Director of Libraries maintain an excellent teaching environment. Thanks to student callers, the telefund is one of our most effective fundraising programs. During spring break 2003, students worked evenings and weekends in Macky Hall and raised more than $20,000 for the college. Our callers are recruited from all majors, and many are first-year students who are looking for ways to connect with alumni. These are not your typical telefund calls. Students and alumni often enjoy long conversations as alumni share their experience in professional practice and callers describe student life today. Amanda Heikkinen, who will graduate with a BFA in sculpture in December 2003, says, “The telefund really wasn’t intimidating because you are talking to people with whom you have something in common. It was a great experience, which is why I have done it two years in a row.” We have also received kind messages from alumni, thanking us for involving students in the effort. Diane Oles (BFA 1984, interior architecture) writes, “I have a tremendous amount of admiration for the direction the school has taken since I graduated, so when I received a call from a student, I was more than happy to give back to the college.” This special campaign will run each March during spring break. If you receive a call, please take a moment to talk to a student. Your support will have a meaningful impact at the school, and the conversation alone can be a very positive experience for our students. If you have questions about the CCA telefund, please contact Ashley Lomery in the Advancement Office at 510.594.3662.

Awards and Accolades Eric Heiman (BFA 1996, graphic design), an assistant professor in the Graphic Design Program, received the college’s inaugural Excellence in Teaching Award on May 9, 2003. Graduating students of the class of 2003 selected Heiman as the instructor who had had the greatest influence on their work and their artistic and creative experience at the college. Dean of Design Michael Vanderbyl was elected national chair of the American Institute of Graphic Arts (AIGA). Vanderbyl has gained international prominence in the design field as a practitioner, educator, critic, and advocate. His firm, Vanderbyl Design, is a multidisciplinary studio with expertise in graphics, packaging, signage, interiors, showrooms, retail spaces, furniture, textiles, and fashion apparel. Interior design student Lorie Shay won a $30,000 Senior Student Scholarship Award from the New York City–based Angelo Donghia Foundation, which provides support for two distinct fields: advancement of education in interior design, and discovery of the causes and methods of treatment for AIDS and related diseases. Shay was one of ten winners from FIDER-accredited interior design programs in the western United States. She will graduate in 2004.

The 2003 recipients of the honorary doctorate of fine arts were Ann K. Hamilton, Ann M. Hatch, and Richard N. Goldman. They were honored at a reception on the Oakland campus on May 9, 2003.

9. 2.

1. Larry Rinder (left) and Richard N. Goldman at the honorary doctorate reception. photo: Stuart Brinin

3. Robert Bechtle (left) and Nathan Oliveira at the honorary doctorate reception. photo: Stuart Brinin

2. Riley Bamesberger (left), Pre-College student, and Jennifer Fiore, Pre-College photography instructor, celebrate Rileyâ&#x20AC;&#x2122;s receipt of the Nicole Brownlee Memorial Scholarship for Photography. August 1, 2003. photo: Ashley Lomery

4. Left to right: Kay Kimpton, Sandy Walker, Paul Discoe, and Jennifer Morla. Opening reception, Capp Street Project: 20th Anniversary Exhibition at the CCA Wattis Institute. March 1, 2003. photo: Stuart Brinin

5. Ann M. Hatch and James Turrell. Capp Street Project: 20th Anniversary Exhibition dinner at the San Francisco home of Rich Niles and Lenore Pereira. February 28, 2003. photo: Stuart Brinin 6. Left to right: Ann K. Hamilton; Simon Blattner, chair of the Board of Trustees; Kimberly Blattner; and CCA President Michael S. Roth at the honorary doctorate reception. photo: Stuart Brinin

12.

Faculty Notes Michael S. Roth, President

Night One Heart,” Nov. 2003; lecture, “Craft’s Intersection with Art, Architecture, published, essay, “California and Design,” SOFA Chicago College of the Arts: Craft’s (International Exposition of Intersection with Art, ArchiSculpture Objects and Functecture, and Design,” SOFA tional Art), Oct. 2003; commenceChicago 2003 Catalog; review ment address, U.C. Berkeley of Society Must Be Defended: Lectures at the College de France, Department of History of Art, May 2003; seminar participant, 1975–76, by Michel Foucault, “The Ideal Art School in the 21st translated from the French by Century,” Aspen, CO, Aug. 2003; David Macey (Picador, 2003), Los Angeles Times Book Review, interviewed, KQED radio’s Forum, hosted by Michael Krasny, Aug. 2003; special guest, speaking about “The Art of Now,” Zen San Francisco, Aug. 2003. Hospice Project benefit, “One

S. Jane Cee published, editorial on Lesbian, Gay, Bisexual, Transgender Community Center of San Francisco, Architecture magazine, April 2002; chairperson, 50th Annual P/A Awards Jury, Architecture magazine, Jan. 2003; Cee Architects awarded $6 million renovation and conversion, Leland Polk Hotel, San Francisco, to Leland Polk Senior Community for Mercy Housing.

Tim Culvahouse award, with Amy Eliot, finalist for 2003–4 Benjamin Henry Latrobe Fellowship, a $100,000 research fellowship awarded by the American Institute of Architects; appointed, Favrot Distinguished Chair, Tulane School of Architecture, spring 2004.

Christopher Deam group show, American Design, Denver Art Museum, traveling to Miami, FL; New York City, NY; and Memphis, TN; Feb. 2002– Feb. 2004.

Thom Faulders published, “Thom Faulders/ Beige Design,” MARU magazine, Thom Faulders, Particle Reflex, SFMOMA installation view, 2001

Korea, Jan. 2003; exhibit, Street Furniture Exhibition, Jerusalem, Israel, Feb. 2003; lecture, “Recent Projects,” University of Detroit Mercy, Detroit, MI; workshop, “Soft Works,” Southern California Institute of Architecture, Los Angeles, CA, in collaboration with Loom Studio, summer 2003; group show, Experimentadesign 2003—Bienal de Lisboa, Lisbon, Portugal, Sept. 2003; Microarchitecture, virtual museum, Institut Français d’Architecture, Sept. 2003.

Donald Fortescue solo show, John Elder Gallery, New York, NY, Nov. 2003; coediting, theoretical writings on furniture from antiquity to the present with Professor Edward S. Cooke, Yale University, and Dr. Glenn Adamson, Chipstone Foundation, Milwaukee, WI.

magazine; poems, Skanky Possum #9, fall 2003; photographs, www.taparts.org; photographs, Biblio: A Review of Books, New Delhi, India; appointed, Distinguished Writer in Residence, Saint Mary’s College, Moraga, CA, spring 2004.

Linda Geary group show, SFADA/Off the Preserve, May–June 2003; group show, Best in Show: 5 Year Anniversary, Marcel Sitcoske Gallery, San Francisco, July– Aug. 2003.

Eric Heiman award, CCA Excellence in Teaching, May 2003; promoted, assistant professor of design, CCA, 2003; published, “New York, typisch!” Page magazine, Germany, May 2003; lectur-

Mark Fox redesigned identity for CCA Wattis Institute for Contemporary Arts and identity for CCA, 2003.

Gloria Frym lecture, “Lorine Niedecker’s Plain (Language),” Lorine Niedecker Centenary Celebration, Milwaukee, WI, Oct. 2003; published online, “More Lies,” Fiction Attic magazine; featured, poem from “Mind Over Matter,” engraved in glass for Robert Hass’s Addison Street Project, Eric Heiman, AIGA SF Enrichment Scholarship Poster for AIGA SF, 2003 Berkeley, CA; published, proses, from new ms. Dawn, er, Project M Summer Design Nth Position magazine, London, Program, Bielenberg Institute UK; published online, prose, at the Edge of the Earth, Times New Roman: Poets Oppose 21st Searsport, ME, June 2003; group Century Empire Anthology; publishow, California Design Biennial shed online, proses from new ms., 2003, Pasadena Museum of Milk magazine; published: poems California Art, Pasadena, CA, from “Message Interruptus, A June–Sept. 2003; group show, Sequence,” Nocturnes magazine, TDC49, Type Director’s Club, New fall 2003; poem, Cento York City, NY, June–July 2003;

group show, Reduction of Complexity, ADHOC Group, summer 2003; traveling group show, AIGA 50 Books/50 Covers 2003.

Steven Skov Holt group show, American Design, Denver Art Museum, traveling to Miami, FL; New York City, NY; and Memphis, TN; Feb. 2002– Feb. 2004; moderator, “Future of Design,” World Technology Conference Summit, San Francisco, June 2003; judge, Industrial Design Category, Portland Design Festival, summer 2003; furniture prototype featured, “Pool Chair,” USDesign 1975–2000, opened at Denver Art Museum, at American Museum of Art and Design, New York, through Sept. 2003.

Mark Horton show, CCAC’s New Dormitory: The Design Process, School of Architecture and Environmental Design, California Polytechnic State University at San Luis Obispo; published: “Snow Place Like Home,” San Francisco magazine, Feb. 2002; “Four Sides to Every Storey,” Blueprint magazine, Jan. 2003; “The Little School,” Confort, Oct. 2002; “A Weekly Dose of Architecture—CCA Dormitory,” Archidose, Apr. 2003; Achievement Award, CC AIA 2002; Merit Award, CC AIA 2003.

Mark Jensen awarded, 2002 AIASF, Best of the Bay and Beyond Architecture Award; Honor Award, Retail Category, American Institute of Architects, SF Chapter/SF Business Times; published: “Four Rooms with a View,” Twin Flats residence, 7x7, Nov. 2002; “Courtyard Glamour,” Joss residence, San Francisco Chronicle magazine, Jan. 2003; “Cartoon

Planet,” Angry Monkey Offices, KBP West Offices, Frame 30, Jan.–Feb. 2003; Levi’s Original Spin, Poppybox Gardens, Osho Restaurant at SFO, Retail Innovation Report, GDR Creative Intelligence Publication, Feb. 2003.

Chris Johnson group show, Reflections in Black: A History Deconstructed, Mills College Art Museum, Oakland, CA, June–Aug. 2003; appointed, member of Port of Oakland Public Art Management; currently promoting Question Bridge video project.

Barry Katz published: “How to Turn an Aircraft Carrier Around,” Innovation: Quarterly of the Industrial Designers Society of America, spring 2003; “The Dematerialization and Rematerialization of Everyday Life,” in Subjectivity at the Threshold of the Digital Culture, Rio de Janeiro, forthcoming; review of Sara Danius, The Senses of Modernism: Technology, Perception, and Aesthetics, in Technology and Culture, forthcoming; lectures: “Spaces of Creativity and Innovation,” Hitotsubashi University, Tokyo, Japan; “The Loneliness of the Long-Distance Traveler,” Boeing Aircraft, Seattle, WA; “Design: The Final Frontier,” NASA, Mountain View, CA; “The Rules Have Changed,” Agilent Technologies, Palo Alto, CA; “The Renaissance in Perspective, Perspective in the Renaissance: Four Lectures,” Florence, Italy.

Jennifer Morla group show, American Design, Denver Art Museum, traveling to Miami, FL; New York City, NY; and Memphis, TN; Feb. 2002– Feb. 2004.

Kiersten Muenchinger lecture, “The Evolution of the Terminator: How New Materials Improve Product Design,” Materials Engineering Student Societies lecture series, Cal Poly, San Luis Obispo, CA, May 2003; lecture, “Spaghetti on the Wall: Finding Products that Stick in the Market,” product development lecture series, PARC, Inc., Palo Alto, CA, July 2003; featured, gift box designs, HGTV.com, Mar. 2003; Greetings Etc. magazine, May/June 2003; Martha Stewart Weddings magazine, summer 2003; and Martha Stewart Living television program, July 2003.

Stephen Peart group show, American Design, Denver Art Museum, traveling to Miami, FL; New York City, NY; and Memphis, TN; Feb. 2002– Feb. 2004.

Marianne Rogoff published, short story, “The Poet, Off Hours,” Zebulon Nights.

Judith Serin published, prose poems, Paragraph magazine, issue 23.

David Sherman solo screening, Pacific Film Archive, Berkeley, CA, Oct. 2002; solo screening, First Person Cinema, University of Colorado, Boulder, CO, Feb. 2003; featured: San Francisco International Film Festival, Apr. 2002; Dallas Video Festival, May 2002; New York Underground Film Festival, Mar. 2003; Athens Film and Video Festival, Ohio, Apr. 2003; World Wide Video Festival, Amsterdam, Netherlands, May 2003; San Francisco Cinematheque, June 2003; curator, Super Fresh Eyes 2003, San Francisco

Cinematheque, May 2003.

Leslie Speer lecture, “You Did What with WHAT? A Report on Teaching Eco-Awareness and Changing ID Education,” IDSA National Education Conference, New York, NY, Aug. 2003.

Bruce Tomb lecture, “The Space Around Us” (with Julie Mehretu), Salon Series at Headlands Center for the Arts, June 24, 2003.

Roy Tomlinson group show, Four Painters, Four Friends, SOMARTS Gallery, San Francisco, Jan. 2003; group show, Gensler Architecture, San Francisco, CA, May–June 2003.

Michael Vanderbyl group show, American Design, Denver Art Museum, traveling to Miami, FL; New York City, NY; and Memphis, TN; Feb. 2002– Feb. 2004.

Todd Verwers lecture, “Scandinavian Design: Attitude and Form,” Swedish American Hall, Swedish-American Chamber of Commerce and Danish-American Chamber of Commerce, May 2003.

Thomas Wojak group show, Vallejo Artists’ Guild Invitational 2003 Photography Show, Fetterly Gallery, Vallejo, CA, July–Aug. 2003; group show, participant and co-curator, Arts Benicia Print Show, Arts Benicia Gallery, July 2003; group show, Monoprint Madness, East Side Editions, Jan. 2003; group show, The Art of a Community, Arts Benicia Gallery, Jan.–Feb. 2003; faculty juror, Hamaguchi Awards Competition, 2003.

Alumni Notes 1938 Hugo Steccati: group show, Landscapes, Seascapes, Vantage Points, The Grey Whale, Fort Bragg, CA, June–Aug. 2003.

Creative Photography, University of Arizona; listed by Edan Hughes in “Artists in California 1786–1940,” Crocker Art Museum, Sacramento, CA, 2002.

1939

1952

Ira H. Latour: solo and group show, Artist of the Year, San Francisco Elder Arts Celebration, The Jewett Gallery, Aug.–Oct. 2003; lecture, “Ansel Adams and the 1945 Founding of the Photographic Department at What Is Now the San Francisco Art Institute and the Role Played by Minor White in Directing the Pioneering Program Over the Next Seven Years,” San Francisco Public Library, Sept. 2003; lectures, “The Art and Architecture of the ‘Pageant of the Pacific,’ the Golden Gate International Exposition on Treasure Island, 1939–40,” and “The Pageant of Photography curated by Ansel Adams for the Exposition”; contributing writer, B&W: Black & White Magazine for Collectors of Fine Photography; award, foundation grant, California State Universities Emeritus & Retired Faculty Association; award, Ansel Adams Research Fellowship, Center for

Stanley Cohen: solo show, An Older Artist’s Journey, San Francisco Arts Commission Gallery, City Hall, San Francisco, CA; awarded, Lifetime Achievement Award for Art and Education from Oakland Chamber of Commerce, Apr. 2003.

1956 Billy Al Bengston: group show, Surf Culture: The Art History of Surfing, San Jose Museum of Art, San Jose, CA, Aug.–Nov. 2003.

1958 Gloria Brown-Brobeck: solo show, UC Berkeley Men’s Faculty Club, Berkeley, CA, May 2003.

1959 John Nicolini: solo show, Oils and Watercolors by John Nicolini, Lindsay Dirkx Brown Art Gallery, San Ramon, CA, June 2003.

1962 Donald E. King: retired, 35 years teaching art and history, West Michigan University, Kalamazoo, MI; establishing studio in Taos, NM.

John McCracken: group show, Surf Culture: The Art History of Surfing, San Jose Museum of Art, San Jose CA, Aug.–Nov. 2003. Patricia Tavenner: group shows: UC Berkeley Extension Center, San Francisco, CA; Transportale, Berlin, Germany; Post Modern Post: International Artistamps, Santa Rosa, CA, Feb.–Apr. 2003; East Bay Open Studio Exhibition, Oakland, CA; Open Studio Weekends, May–June 2003, P. Birge Studio, Emeryville, CA; The Big Tree Project, Bedford Gallery, Dean Lesher Center for the Arts, Walnut Creek, CA, June– Aug. 2003.

1963 Karen Ring Meatliffe: solo show, Clay Works, Ocean View Bar and Grill, Pasadena, CA, Sept. 2002–July 2003; retired, La Canada Unified School District, June 2003.

1965 Chuck Overton: group show, XV Group Spring ’03 Art Show, Nexus Gallery, Berkeley, CA, June 2003.

1966 Arlene Risi-Streich: group show, Crossings, Nexus Gallery, Berkeley, CA, Mar. 2003.

Bill Spiess: Spiess: featured, Italian Street Painting Festival, Mission Viejo, CA, June 2003; presenting, Italian Street Painting Festival, Youth in Arts, San Rafael, CA, June 2003.

1967 Mike Gordon: Gordon: group show, Gallery Concord/California Watercolor Association, Concord, CA, Mar.–June 2003. Jay Price: Price: appointed, director, K– 12 Non-Fiction Series, Reference Hub, San Diego.

1969 Robert Barrett: Barrett: elected, chair, California Travel Industry Association, Los Angeles, CA. Brenda Luckin: Luckin: group show, The Big Tree Project, Project, Bedford Gallery, Dean Lesher Center for the Arts, Walnut Creek, CA, June– Aug. 2003. M. Louise Stanley: Stanley: group show, Squares Painters as Rebels, Rebels, Richmond Art Center, Richmond, CA, June–Aug. 2003; conducting, Art Lover’s Tour of Italy, May 2003.

1970 Pamela Hahn: Hahn: group show, The Big Tree Project, Project, Bedford Gallery, Dean Lesher Center for the Arts, Walnut Creek, CA, June– Aug. 2003. Judith Linhares: Linhares: solo show, New Works— Works Works—Judith —Judith Linhares Linhares,, Gallery Paule Anglim, San Francisco, CA, Sept.–Oct. 2003. Kent Rush: Rush: solo show, Photography—Mixed Media,Amarillo Media ,Amarillo Museum of Art, June–Aug. 2003.

1972 Deborah Corsini: Corsini: solo show, Past/ Present, Tapestries and Wedge Weaves, Weaves,

Marc Katano, Redline #8, #8, 2003

DDY Studio, Pacifica, CA, Oct. 2002; group shows: Craft Showcase 33,, Museum of Craft and Folk Art, San Francisco, CA, Dec. 2002; Come Together, Together, Art Guild of Pacifica, Sanchez Art Center, Pacifica, CA, Mar. 2003; Fiber Directions 2003,, Wichita Center for the Arts, 2003 Wichita, KS, Mar.–Apr. 2003. Magdalene Crivelli: Crivelli: group show, Clay Connections, Connections, Solomon Dubnick Gallery, Sacramento, CA, July– Aug. 2003.

1973 Robert Simons: Simons: solo show, Robert Simons: Premonition and Paradoxes, A Thirty-Year Survey, Survey, Kennedy Art Center, Holy Names College, Mar.– May 2003.

1974 Katherine McKenzie Oerting: Oerting: solo show, Body Politic, Politic, Jefferson Davis Community College, Brewton, FL, Feb.–Mar. 2003; group show, awarded honorable mention for Poussiere Poussiere,,

charcoal on plywood, By Women, About Women, Women, Gallery Artel, Pensacola, FL; group Dark, Pensacola show, Art After Dark, Museum of Art, Pensacola, FL; awarded, Best of Show, Beaux Arts Exhibition, Art and Design Society of Ft. Walton Beach, FL, Feb. 2003; awarded First Place, Acrylic Painting, Pensacola Interstate Fine Art Exhibition, Oct. 2002; lecturer, “Heat-Fixable New Media,” Art and Design Society of Ft. Walton Beach, Ft. Walton Yacht Club; juror, Sigmund Dreams, Artel Gallery, Freud’s Dreams, Pensacola, FL, Feb. 2003.

1975 Marc Katano: Katano: solo show, Recent Work, Work, The Contemporary Museum at First Hawaiian Center, Honolulu, HI, May–Sept. 2003. Priscilla Spitler: Spitler: awarded, Jury Prize for Binding, Helen Warren DeGolyer Triennial Exhibition and Competition for American Bookbinding,, Bridwell Library, Bookbinding

Southern Methodist University, Dallas, TX, June–July 2003.

1976 Mark Bowles: solo show, Recent Abstracts, Epperson Gallery, Crockett, CA, Mar. 2003; solo show, Reflections of Yosemite: Recent Paintings from the 2003 Artistin-Residence Program, Art Foundry Gallery, Sacramento, CA, July– Aug. 2003; group show, Wiford and Vogt, Santa Fe, NM; group show, Expression in Fine Art, Santa Fe, NM; group show, Friend of the River, 20th St. Gallery, Sacramento, CA; group show, Invitational Art Auction, Crocker Art Museum, Sacramento, CA; commission, eight large-scale paintings, Brazilian Court Hotel, Palm Beach, FL. Diane Fabian Fabiano: group show, Long Beach Arts Gallery, Long Beach, CA, June–July

2003; group show, Small Works, So. California Women’s Caucus for the Arts Gallery, Los Angeles, CA, June 28–Aug. 15 2003; group show, Variety is the Spice, West Side Art, Los Angeles, CA, June 2003. Sheila O’Hara: solo show, 989 Market Street, San Francisco, CA, Apr.–July 2003; group show, Inspired Objects—The Crafts of Mendocino County, Grace Hudson Museum, Ukiah, CA, May–Aug. 2003; California Looms: Woven and Constructed, Craft and Folk Art Museum, Los Angeles, CA, Sept. 2002–Mar. 2003; The Curatorial Eye, Sonoma Museum of Visual Art, Santa Rosa, CA, Jan.–Mar. 2003; Innovations in Fiberart, Sebastopol Center for the Arts, Sebastopol, CA, Feb.–Mar. 2003; donated, Blossom Creek tapestry, given to Cheju, South Korea, Santa Rosa, CA’s sister city, by Mayor

Sharon Wright; keynote speaker, Conference of the Northern California Handweavers, Nevada County Fairgrounds, May 2003; published, Handwoven magazine, Sept./Oct. 2002; taught, Mendocino Community College, Ukiah, CA, 2002–3.

1978 Marjorie J. Rubin: solo show, Growing in the Darkness, Gallery 110, Seattle, WA, June 2003.

1981 Cynthia M. Baird: group show, Variety is the Spice, West Side Art, Los Angeles, CA, June 2003. Richard Duggan: designed and produced, Mokupapapa: Hawaii’s Remote Coral Reef Discovery Center, Hilo, HI, May; designed and produced, Hanauma Bay Education Center, HI; group show, Keepers of the Flame, The Arts at Marks Garage, Honolulu, HI, May–June 2003. Bennett Harris Horrowitz: published, CD, “ResonatorAcoustic Blues Guitar, Vocal and Harmonica,” June 2003. Hulleah Tsinhnahjinnie: awarded, Eiteljorg Fellowship; group show, Eiteljorg Fellowship Show, Eiteljorg Museum, Indianapolis, IN, Nov. 2003– Feb. 2004.

1982 Jennifer Bain: group show, Landscapes, Seascapes, Vantage Points, The Grey Whale, Fort Bragg, CA, June–Aug. 2003.

1983 Annette Goldberg: group show, The Big Tree Project, Bedford Gallery, Dean Lesher Center for the Arts, Walnut Creek, CA, June–Aug. 2003 Robert Simons, Even Here Too, 1974

1984 Emily Lazarre: solo show, Emily Lazarre—Oil on Paper Collages, Fresno Art Museum, Fresno, CA, Mar.–June 2003; group show, Landscapes, Seascapes, Vantage Points, The Grey Whale, Fort Bragg, CA, June–Aug. 2003. Josef Venker: group show, Contemporary Jesuit Artists, St. Louis University Museum of Art, St. Louis, MO, Apr.–Sept. 2003; received tenure, assistant professor of fine art, Seattle University, Seattle, WA.

1986 David Burton: group show, The Big Tree Project, Bedford Gallery, Dean Lesher Center for the Arts, Walnut Creek, CA, June– Aug. 2003.

1987 Erik Adigard: group show, American Design, Denver Art Museum, traveling to Miami, FL; New York City, NY; and Memphis, TN; Feb. 2002– Feb. 2004. Katherine McKay: taught, Colored Pencil Workshop,

Sheila O’Hara, Blossom Creek, 2002

Mendocino Art Center, April 2003; group show, Instructors’ Exhibit, Mendocino Art Center, Mendocino, CA, Mar.–Apr. 2003; group show, Instructors’ Exhibit, Richmond Art Center, Richmond, CA, Mar.-Apr. 2003; group show, Art Faculty Exhibit, UC Berkeley Extension Program, San Francisco, CA, Mar.–May 2003; group show, CCA Alumni Exhibit, The Grey Whale; Fort Bragg, CA, June–Aug. 2003. Yoshitomo Saito: solo show, Marshall University Berke Art Gallery, Huntington, WV, 2003; group shows: Sight Unseen— The 120th Annual Exhibition, San Francisco Art Institute, San Francisco, CA, Jan. 2002; Outdoor Sculpture Show, Snowshoe Institute, Snowshoe, WV, Aug. 2002; 15th Anniversary Exhibition, Haines Gallery, San Francisco, CA, Sept. 2002; Japanese Shikishi Art, Bedford Gallery, Walnut Creek, CA, Nov. 2002; 8th International Shoebox Sculpture, University of Hawaii Art Gallery, Honolulu, HI, traveling to Taiwan, Guam, HI, CA, PA, OH, SD,

and IA through 2005; Art on View 2003, Dairy Barn Cultural Arts Center, Athens, OH, 2003; San Francisco International Art Exposition, Fort Mason Center, San Francisco, CA, 2003. Ann Weber: featured, “Bay Area Artists,” KQED, Apr. 2003; group show, The Big Tree Project, Bedford Gallery, Dean Lesher Center for the Arts, Walnut Creek, CA, June– Aug. 2003

1988 Donna Fenstermaker: group show, Landscapes, Seascapes, Vantage Points, The Grey Whale, Fort Bragg, CA, June–Aug. 2003. Lampo Leong: solo show, Kotinsky Gallery, Pompton Lakes, NJ; Eastern Kentucky University, Richmond, KY; group shows: Ninth Great Plains National Art Exhibition, Fort Hays State University, KS, 2003; 4 to Go, Maude Kerns Art Center, Eugene, OR, 2003; Jane T. Walsh Juried Show, Art Guild of Burlington, Burlington, IA, 2003; 53 Annual QuadState Juried Exhibition, Quincy Art Center, Quincy, IL, 2003; Memphis/Germantown Art League 8th National Juried Exhibition, Memphis, TN, 2003; Current Work 2003: A National Competition, Fayetteville State University, NC, 2003; Abstraction from Nature, Machine Shop Gallery, Washington, MO, 2003; Englewood Arts National Juried Art Show, Museum of Outdoor Arts, Englewood, CO, 2003; Two By Two: Ceramic Sculpture Biennial, Eastern Washington University, 2003; On/Of Paper 2 Exhibition, Cloyde Snook Gallery, Adams State College, Alamosa, CO, 2003. Gabrielle Thormann: group shows: Works on Paper SF/NY/

LA, Oct. 2003, San Luis Obispo Art Center; January Juried Show, Gallery Route One, Pt. Reyes, CA, Jan. 2003; Visual Aid’s Big Deal 2002, SomaArts, San Francisco; open studio, Developing Environments, San Francisco, CA, Oct. 2002; The Living LABoratory, A Residency Installation by Lise Swenson, The Lab, San Francisco, CA, Sept– Oct. 2002; Let it Breed: C.A.L.F. (Coalition of Artists and Life Forms) 5th Anniversary Exhibition, Bio Arts Gallery, Sausalito, CA, May 2002; Forms, Patterns, Reflections, Sebastopol Center for the Arts, Sebastopol, CA, Mar.–May 2001; artist in residence, Dorland Mountain Arts Colony, Temecula, CA, Nov.-Dec. 2002; taught, outdoor drawingworkshop, “Abstracting Nature,” Sunnyside Conservatory, San Francisco, CA, April 2002.

1989 Susan Leibowitz Steinman: group show, Pacific Rim Sculptors Group Invitational, Oakland Museum of California at City Center Gallery 555, Oakland, CA, Jan.–Apr. 2003. Florence Yoo: featured, New York University Music Showcase, New York, NY, Apr. 2003; solo show, Florence Yoo/Indelible, Cobi’s Place, New York, NY, May 2003.

1990 Christine Harrison: group show, Maryhill Museum of Art Outdoor Sculpture Invitational 2003, Goldendale, WA, Mar.–Nov. 2003; adjunct professor, Lesely University and Tillamook Bay Community College. Ana Maria Hernando: solo show, Bryant St. Gallery, Palo Alto, CA; group shows: The Spines That Bind: A Survey of Contemporary Artist-

Made Books, Buddy Holly Center, 1992 Lubbock, TX, 2003; CCA Alumni Marlene Aron: group shows: Exhibition Series, Andrea Schwartz Dreams of Resistance, Mission Gallery, San Francisco, CA, 2003; Cultural Center, San Francisco, Avant-Garden, Boulder Museum CA, Jan. 2003; Wish You Were of Contemporary Art, Boulder, Here! Postcards From Our Friends, CO, 2003; I-25, Representing A.I.R. Gallery, New York, NY, Boulder, Sangre de Cristo Arts June-July 2003; Quatrain: Four and Conference Center, Pueblo, Visions, Herger Gallery, Solano CO, 2003; Exhibitrek Gallery, County Community College, Boulder, CO, 2002 and 2003; ID Suisun, CA, March 2003; Project, Museum of Contemporary published, “Balancing Tradition Art, Denver, CO, 2002; Old and Innovation: Pittsburgh,” Firehouse Gallery, Longmont, CO, Sculpture magazine, June 2001; 2002; The Creative Force Collaborative, reviewed, “Two Artists Offer Way Boulder, CO, 2002; faculty, to Reflect on Tragedy,” Pittsburgh Naropa University, Boulder, CO, Post-Gazette, Pittsburgh, PA, Dec. 2003; Of Work and Earth, project 2001; featured, “Home Grown,” with 5th graders at Columbine The Indiana Gazette, Indiana, PA, Elementary, Longmont, CO, Nov. 2001. 2002; ID project, MCA Denver China Blue: solo show, and Samsonite, Denver, CO, Architectural Therapy, Lance Fung 2002; vice president, Board Gallery, New York, NY, June– of Directors, Boulder Museum July 2003; award, Who’s Who of Contemporary Art, Boulder, in America, Who’s Who in the CO, 2002; published: Denver Post, World, Who’s Who of Women. Denver, CO, May 2003; Sunday Eric Johnson: solo show, Overview, Daily Camera, Boulder, CO, March Andrea Schwartz Gallery, San 2002; New American Paintings Francisco, CA, June–July 2003. Catalogue, #36, Open Studios Press, Wellesley, MA, 2001. Stephen Sheffield: commissioned photomontage, Union 1991 Beer Company, Brooklyn, NY. Taraneh Hemami: solo show, Hall of Reflections, San Francisco 1993 Arts Commission Gallery, San Amber Eagle: show, Muestra 2, Francisco, CA, Sept.–Oct. 2002; World Trade Center, Mexico City, group show, 6th International 2003; exhibit, Trayectorias Internas, Sharjah Biennial, Sharjah, UAE, Museum of Contemporary May 2003; awarded, California Art Alfredo Zalce, Morelia, Council for Humanities, Michoacan, Mexico, 2003; show, California Stories, spring 2003; Sweetscapes, Moody Gallery, solo show, Richmond Health Houston, TX, 2002; show, Center, Aug. 2003; solo show, Cavernas Escarchadas, Universidad Persian Center, summer 2003. Autonoma de Queretaro, Paula Poole: group show, Landscapes, Seascapes, Vantage Points, The Grey Whale, Fort Bragg, CA, June–Aug. 2003.

Mexico, 2002. Erik Eiserling: group show, Landscapes, Seascapes, Vantage Points, The Grey Whale, Fort Bragg, CA, June–Aug. 2003.

Colin Mosher: named senior associate, Hillier Architects, Princeton, NJ.

1994 Deborah A. Bates: solo show, From This Ground, Carney Gallery, Regis College, Weston, MA, Sept.–Oct. 2003; group shows: Fountain Street Open Studios, Framingham, MA, Apr. 2003; Danforth Museum, Framingham, MA, May; Voice and Vision, Massachusetts College of Art, Boston, MA; named visiting associate professor, Massachusetts College of Art, Boston, MA. Harrell Fletcher: group show, Portable Exhibition Venues, work worn by Kate Pocrass wherever she may be during the month of June 2003. Fain Hancock: group show, All About Eve, Hang Gallery, Palo Alto, CA, June 6, 2003. Ilah Jarvis: artist in residence, Fundacion Valparaiso, Mojacar, Spain, Feb. 2003.

Visionaries, Blue Heron Arts Center, New York, NY, Mar.–Apr.

Sian Oblak: group show, Gallery Paule Anglim, July 2003.

Geoff Chadsey: solo show, Drawings, James Harris Gallery, Seattle, WA; drawing part of permanent collection, From Matisse to Beyond, SFMOMA, Dec. 2002–present; group show, Picture This, Spanganga, July 2003; awarded, Fine Arts Work Center Visual Artist Winter Fellowship, Provincetown, MA.

Lynn Sondag: group show, Landscapes, Seascapes, Vantage Points, The Grey Whale, Fort Bragg, CA, June–Aug. 2003.

Amy Conover: appointed to manage National Design Awards, Cooper-Hewitt National Design Museum. Jan Freeman Long: group show, Landscapes, Seascapes, Vantage Points, Grey Whale Inn, Fort Bragg, CA, June–Aug. 2003.

1997 Kent Alexander: group show, Squares: Painters as Relics or Rebels, Richmond Art Center, Richmond, CA, June–Aug.; artwork in movie, Simone; artwork in movie, Freaky Friday.

Steven Robert Barich: group shows: Spacescapes-Landlines, TENT, Rotterdam, Netherlands, May 2003; The Great Debate, Budget Gallery, San Francisco, CA, June 1995 2003; PrintROOM, Room: Art Space, Sandra Julia Ledesma: attended, Rotterdam, Netherlands, March graduate seminar at Smithsonian, 2003; ROOM the Shop, Room: Art “Interpreting Latino Cultures: Space, Rotterdam, Netherlands, Research and Museums”; Dec. 2002; CBK Project Subsidie, volunteered, with Carmen Lomas Centrum Beldeende Kunst, Garza, San Jose Art Museum, Rotterdam, Netherlands, Sept. 2001; participant, MACLA San 2002–3. Jose Latino Arts Auction, June 2003. Ezra Li Eismont: solo show, Altered States, Gallery A.D., San Teresa Scarpulla: solo show, Jose, CA, June 2003; group Metaphysical Body Parts, LunarBase, show, Collab, Punch Gallery, San Inc., Brooklyn, NY, Feb.– Francisco, CA, May 2003; group Mar. 2003. show, The Apex, Cappella Event 1996 Center, San Francisco, CA, Rose Callahan: group show, Aug. 2003. Greg Owen: fellowship, Virginia Center for the Creative Arts, Sweet Briar, VA, May–June 2003.

Shalene Valenzuela: solo show, A Post 2/14 World—New Work by Shalene Valenzuela, Cricket Engine Studio and Gallery, Oakland, CA, Mar. 2003.

1998 Curtis Arima: group shows: Chess: Contemporary Chessmen, Velvet Da Vinci Gallery, San Francisco, CA, May 2003; Snag: A Metal Arts Guild Exhibition, Oakland Museum of California Collector’s Gallery, Oakland, CA, May–June 2003; Instructor’s Show, Kids ‘N’ Clay Gallery, Berkeley, CA, May–June 2003; Big LITTLE: Jeweler and Sculptors Making it in Metal, Craft and Cultural Arts Gallery, Oakland, CA, May–June 2003; Metal, Virginia Breier Gallery, San Francisco, CA, May–June 2003; Asian Roots, Western Soil: Visual Poetry in Metal 2003, Nihonmachi, Japantown, San Francisco, CA, May–Aug. 2003; Exhibition in Motion, SNAG Conference, San Francisco, CA, May 2003; Gallery Flux, San Francisco, CA, ongoing. Pamela Cobb: group show, Landscapes, Seascapes, Vantage Points, The Grey Whale, Fort Bragg, CA, June–Aug. 2003. Stephanie Dean: published and featured, Chicago Artist’s Coalition News, Chicago, IL, May 2003; sold two photographs, Belgravia Group, Ltd. for 530 N. Lakeshore Drive, Chicago, IL; awarded scholarship, Union League Club of Chicago’s Civic and Arts Foundation; published

she may be during the month of June 2003. Narangkar Khalsa: solo show, Mojo’s, Oakland, CA, Jan.–Mar. 2003; group shows: Symptom, 21 Grand, Oakland, CA, June 2002; Priced to Sell, Ardency Gallery, Oakland, CA, Oct. 2002; published, Kitchen Sink magazine, Issue #2. Chris Oliveria: solo show, Things Can Get Upside Down in This World…I Hope You Are Resilient, May 2003; group show, Yerba Buena Center for the Arts, fall 2003. Amos Scully: group show, The Big Tree Project, Bedford Gallery, Dean Lesher Center for the Arts, Walnut Creek, CA, June– Aug. 2003.

2000 Eve Chang: solo show, Public/ private, PCC Art Gallery, Pasadena, CA, June–July 2003. Alexandra A. Grant: group show, CCA alumni exhibition series, Andrea Schwartz Gallery, San Francisco, CA, July 2003. Eric Johnson, Ocean Study, 2003

photograph, album cover, “Toshack Highway vs. sianspheric, Magnetic Morning/Aspirin Age” Sonic Unyon, Ontario, Canada; published, “Symptom: Photographs by Stephanie Dean, Paintings by Narangkar Khalsa,” Kitchen Sink magazine, winter 2003. Pat Dernham: group show, Landscapes, Seascapes, Vantage Points, The Grey Whale, Fort Bragg, CA, June–Aug. 2003. Bryan Nash Gill: solo show, Blow Down, DeCordova Museum and Sculpture Park, Lincoln, MA, Jan.–Aug. 2003.

Allison Lasley: group show, Works by Allison Lasley, Art Station Contemporary Arts Center, Stone Mountain, GA, June–Aug. Remi Rubel: group show, The Big Tree Project, Bedford Gallery, Dean Lesher Center for the Arts, Walnut Creek, CA, June– Aug. 2003.

1999 Brooke Fletcher: group show, Landscapes, Seascapes, Vantage Points, The Grey Whale, Fort Bragg, CA June–Aug. 2003. Desiree Holman: group show, Portable Exhibition Venues, work worn by Kate Pocrass wherever

Shane Montgomery: group show, Fictional Science and Alternate Worlds, HEREart Gallery, New York, NY, May–June 2003. Marina Vendrell: group show, Catalyst, Oakland Art Gallery, Oakland, CA, Mar.–May 2003. Anna Von Mertens: solo show, MATRIX 207/Suggested North Points, Berkeley Art Museum, Berkeley, CA, July–Sept. 2003.

2001 Libby Black: group show, Portable Exhibition Venues, work worn by Kate Pocrass wherever she may be during the month of June 2003. Jeanette Bokhour: group show, Construction/Deconstruction, Big

Pagoda, San Francisco, CA, Aug. 2003.

Baltimore, MD and Stone Harbor, NJ, Nov. 2002–Jan. 2003.

Patrick Dintino, solo show, Big Pagoda, San Francisco, CA, June 2003; group show, Andrea Schwartz Gallery, San Francisco, CA, May 2003.

Marcia Weisbrot: group shows: Mobilivre/Bookmobile, touring U.S. and Canada, 2003; PDBA exhibit, Mechanics Institute, San Francisco, CA, 2003; Crossing Bridges, Marketwatch, San Francisco, CA, June–Sept. 2003; Re-imaging books, San Mateo Public Library, San Mateo, CA, Jan. 2003; La Petite X, Alder Gallery, Coburg, Oregon, Nov.–Dec. 2002; 1st Annual Book Jam, Foothill College, Mountain View, CA, Oct. 2002; lecture, “Pencilhead Press: From the Personal to the Political in Artist’s Books,” San Francisco Center for the Book, San Francisco, CA, May 2003.

Arthur Krakower: group show, Smith Anderson Gallery, Palo Alto, CA, July 2003. Bob Lawless: awarded, Murphy Fellowship, The Herringer Family Foundation Prize for Excellence in Art; group show, Murphy Fellowship Exhibit, San Francisco Arts Commission Gallery, San Francisco, CA, July–Aug. 2003. Greg Silva: group show, Holiday Invitational, OXOXO Gallery,

Mark Bowles, Winter Falls in Yosemite, 2003

Eugene Young: published, 32 illustrations, Ophidian 2350 collectible card game, Fleet Trading Cards International.

2002 David Hevel: group show, Fictional Science and Alternate Worlds, HEREart Gallery, New York, NY, May–June 2003. Chicory Miles: group show, Fictional Science and Alternate Worlds, HEREart Gallery, New York, NY, May–June 2003. Zoe Nemeth: group show, Fictional Science and Alternate Worlds, HEREart Gallery, New York, NY, May–June 2003. Cristina Rodriguez: group show, Fictional Science and Alternate Worlds, HEREart Gallery, New York, NY, May–June 2003.

In Memoriam

Carl Jennings

Roberta Therese “Tre” Arenz BFA 1975 May 8, 2003, Portland, OR

Henry E. Costa BA 1950 May 1, 2003, Millbrae, CA

Curran A. “Johnny’’ Johnson, Jr. March 28, 2003, Canton, CT

Curtis H. Palmer MFA 1969 December 12, 2002, Wayzata, MN

John “Jack” Frederick Vickers BA Ed 1949 March 12, 2003, Vallejo, CA

Robert H. Bolman Trustee Emeritus Robert H. Bolman died on March 12, 2003. He was ninety-seven. Bolman joined the college’s Board of Trustees in 1958. He served on both the Development and Audit and Finance Committees, and was board chair from 1965 to 1968. In 1970, on his retirement from the Board, he was elected trustee emeritus, an honorary title bestowed on only a handful of trustees. Bolman had a distinguished career in banking and management consulting and an impressive record of service with civic organizations including the United Fund, the World Affairs Council, and as trustee of the Oakland Museum. His survivors include his wife, Edith, and daughters Gay Stern and Sylvia Bolman Fones. Left to right: Hugo Steccati, Hanni Lederer, Wolfgang Lederer

Carl Jennings Carl Jennings died on May 13, 2003, at the age of ninety-three. A third-generation metal craftsperson, he had worked in iron for more than seventy years. After graduating from the college in 1934, he worked in a number of shops before opening El Diablo Forge in Lafayette. In 1969 he moved his studio to Sonoma. Perhaps his finest masterpiece is his Sonoma home, which he and his late wife, Elizabeth, designed and constructed, crafting every detail down to the nails and screws. During his long and distinguished career, Jennings was the recipient of numerous honors and awards, including induction into the College of Fellows by the American Crafts Council in 1988. A retrospective exhibition of his work was held at the National Ornamental Metal Museum in Memphis in 1990.

Wolfgang Lederer Renowned designer, illustrator, and educator Wolfgang Lederer died on May 13, 2003. He was ninety-one. As a design practitioner and teacher for more than sixty years, Lederer defined and shaped design practice in the Bay Area and on the West Coast. He was appointed director of the CCA School of Design in 1950. After his retirement in 1980, he was designated professor emeritus. He was active professionally almost to the end, with a retrospective exhibition in 2000 at the San Francisco Center for the Book and a prize for excellence in typography from the California Book Club in 2001. Lederer is survived by his wife of

sixty years, Hanni Lederer; sons Tom and Andrew; and grandchildren Katy and Mark. A memorial gathering was held on June 14 at the Oakland campus. Donations may be made to the Wolfgang Lederer Memorial Scholarship c/o CCA Advancement Office, 5212 Broadway, Oakland, CA 94618.

Walter Menrath Walter Menrath died on July 13, 2003. He was eightytwo and had served on the faculty for thirty-nine years, teaching courses in political sociology, art and cultural history, and philosophy. He taught until two months before his death. He leaves Maryellen Himell, loving companion and life partner of twenty-nine years; Nina Menrath, the mother of his children, to whom he was married from 1955 to 1968 and with whom he remained close friends; sons Lorenz and Thomas; daughters-in-law Margaret Menrath and Kathryn McGill; and granddaughters Elizabeth and Madeline Menrath. A celebration of Menrath’s life and career took place on September 6 on the Oakland campus. Contributions to the Walter J. Menrath Scholarship support an annual award in the humanities and sciences for undergraduates. Donations may be sent to the CCA Advancement Office, 5212 Broadway, Oakland, CA 94618.

been established in her honor. Donations may be sent to California College of the Arts, President’s Office, 5212 Broadway, Oakland, CA 94618. The scholarship will be awarded to a first-year student. Little Smothering for Gertrude Someone dies who you liked a great deal but didn’t know well: a little smothering where the almost transparent flame vanishes, is swallowed by a pocket of smoke, forming into a pocket of smoke—its gray flame bent down inside—no longer sensing the smallest needs, not now capable of being the perfect plume from nowhere, the quiet radiance for one second more—having slipped as the black seal down ... down for a minute, many minutes, more minutes than one cares to count. —Stephen Ajay Chair, Creative Writing Gertrude Schaufel photo: Douglas Sandberg

Walter Menrath

Dean Snyder

Gertrude Schaufel Beloved friend and colleague Gertrude Schaufel passed away on April 20 at the age of eighty-two. As CCA receptionist for thirty-four years, Gertrude was the heart and soul of the college. Generations of students, faculty, and staff benefited from her many acts of kindness and gracious helpfulness. On May 2 members of the college community gathered in Oliver Art Center to share their memories of this remarkable woman. The Gertrude Schaufel Memorial Scholarship has

Retired faculty member Dean Snyder died on March 6, 2003, at the age of seventy-five. He graduated from the college in 1964 with a BFA in industrial design and began teaching here the following spring. Snyder taught for twenty-seven years, retiring as a full professor in 1991. He was program head from 1982 to 1986 and served in various advising capacities as well as on the Academic Council. He was instrumental in growing the Industrial Design Program after it was reinstated in the 1980s. Snyder was a very generous member of the CCA community, known especially for his teaching and mentorship. Survivors include his wife, Sally, and his daughter, Deana Green (BFA 1978). A celebration of Dean Snyder’s life took place at the Snyder home on March 16.

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